Smiths On Guitar: lunachangue

Showing posts with label lunachangue. Show all posts

The Draize Train

"'The Draize Train' is vivisection terminology, a kind of conveyor belt, you can guess the rest. I've been Vegetarian since 1983. "

"I use Nashville tuning all the time. I've got an Epiphone Coronet with one pickup, and I string it with the high strings from a 12-string set. It's a really zingy, trebly guitar. I used that on a lot of things that people think are 12-string, like the end of 'The Headmaster Ritual'. I also used it on the studio version of 'The Draize Train', along with two Rickenbackers. I was working with Alan Rogan, the famed English guitar technician. He said, 'Well, if you want a Pete Townshend sound, I'll bring down two of Pete's guitars.' I don't know whether Pete knows about that!"

- Johnny Marr

I have put up a tab contributed by David K, a reader, here(click to view, right-click to save as).

Here are the scans from the Complete Chord Dictionary:

Lexicon15 does a cool version on acoustic:

lunachangue did a great electric version from the Rank album:

Barbarism Begins At Home

"I came up with the riff the day that Troy Tate came up to Manchester to meet with us. It was almost because our first proper producer was about to arrive that I thought we needed a new song, maybe, and it was a sunny afternoon. We played it in the daytime, which was unusual because there were these machinists working downstairs on the floor below, and we wouldn't want to be working stuff out at high volume. There was no drums there, it was just me and Andy jamming like we used to when we were 14 or 15. I know a lot of fuss has been made and Andy is, quite rightly, proud of that bassline, but, personally, harmonically I don't think it comes anywhere near Andy's other stuff. 'Nowhere Fast', 'That Joke Isn't Funny Anymore', 'The Headmaster Ritual', all tower above it. It was one of those things where it was a good idea at the time, but later, as we played it, I didn't think it really represented the band. The overall thing, all of it, was a little bit corny."

"Barbarism Begins At Home is a bit naff. I don't like the tune - there's no emotion in it."

"With 'Barbarism Begins At Home,' a lot's been made of the funky aspect of the bassline, but that track harks back to what I was doing with Andy before The Smiths. I guess it came out of this love of retro kind of James Brown records, and things like Rip Rig & Panic and The Pop Group. That period of anemic, underfed white funk. It's me and Andy being townies in Manchester, liking a bit of the American No-Wave thing. James Chance, I guess."

-Johnny Marr

I have uploaded a Guitar Pro file here(right click to save).

Here are the scans from the Meat Is Murder songbook:

Thanks to Ted Maul for these scans.

Here's another great version by Daniel Earwicker:

Here's juttkeys:

Here's buckleyboyben:

Here's IFoughtTheLaw369 with two full-length versions on guitar and bass:

Here's sonofdrcross on bass:

Here's a full-length version from nicknoh69:

Awesome acoustic version by WilliamFs11:

Here's lunachangue with his Ric 330:

Here's barjabulon:

Here's davidguitarist91 on his Les Paul:

Still Ill

"Looking back on the first album now I can say that I'm not as madly keen on it as I was. I think that a lot of the fire was missing on it and most of our supporters realise that as well. Although having said that, 'Still Ill' and 'Suffer Little Children' and 'Hand That Rocks' are all still great songs."

"'Still Ill' came to me on the train back from London to Manchester around the time of Hand In Glove's release."

- Johnny Marr

I have posted a Guitar Pro tab file here(right click to save as).

Here are the scans from the Complete Chord Dictionary:

I have also uploaded the version from the debut album piano songbook with guitar chords, for whatever that's worth... very little, I suspect:

lunachangue does a very good cover on his hollowbody:

sonofdrcross does another really accurate version:

Daniel Earwicker does a great version on Rick 330 and bass:

hughred follows everyone up with yet another really cool version:

cdwheel does a great version here:

nicknoh69 does another really accurate version here:

IngialV does an awesome cover of Andy Rourkes bass. This has got to be one of my favorite smiths bass parts. Kind of a menacing counterpoint to Marr's part.

chiasson65 does another great version of the bass part:

Here's a rollicking take on the Hatful version by 325C58 on guitars and bass, and Daniel Earwicker adds drums:

keithbtv does a nice acoustic version here:

johnnymare does a great full length version here:

Here's davidguitarist91 on his Les Paul:

What Difference Does It Make?

"It was all right. I didn't think it was a particularly strong one. A lot of people liked it and it got to No. 10. It followed 'This Charming Man' and was part of that peak. It was all right. It went down great live, and that's when I liked it.

Every song has to be worth doing every single night. There was one stage where I was playing 'What Difference Does It Make?' seven or eight gigs on the trot and I didn't like the feeling. I knew that this was not why I had got involved in a band in the first place."

-Johnny Marr

I prefer the version on Hatful Of Hollow to the version on the debut album, because I feel the song works better in a more stripped-down form. On the debut version, the guitar production is too busy in my opinion.

I have posted two Guitar Pro tab files here.

It was featured in Total Guitar Magazine, and here are the scans of the transcription from that issue. I have uploaded the backing tracks which came with the issue here:

Here is another version to compare with. This tab also came with backing tracks which I have uploaded here(right click to save as).

Here are the scans from the Singles tab book:

Here are the scans from the Complete Chord Dictionary:

Here are the piano and guitar chord boxes from the debut album songbook:

nicknoh69 does an awesome, complete version on his Ric 330:

sonofdrcross does a really good job on his version. The pre-chorus and chorus riffs are the hardest for me to get, and he pretty much nails them.

lunachangue doesn't do as well on the chorus and pre-chorus parts, but he locks the rythym down.

dhowellbassist does a pretty faithful cover of the studio version, with overdubs:

Here's johnnymare playing along to the backing track in Play Guitar with The Smiths:

Here's davidguitarist91 on his Les Paul:

This Charming Man

"Of all our singles I think I like 'This Charming Man' best, just because the rhythms are so infectious. Smiths music really moves me."

- Andy Rourke

"A couple of days before I wrote 'This Charming Man' I'd heard 'Walk Out To Winter' (by Aztec Camera) on Radio 1, and I felt a little jealous. My competitive urges kicked in. I felt that we needed something up-beat and in a major key for Rough Trade to get behind. That's why I wrote it in the key of G, which to this day I rarely do. I knew that 'This Charming Man' would be our next single. I did the whole thing in one go into this TEAC 3-track tape recorder that I used to write on. I came up with the basic chords and immediately overdubbed the top line and intro riff."

"I wrote This Charming Man for a John Peel session. I just leapt out of bed and wrote it. It was the culmination of trying to find a way of playing that was non-rock but still expressed my personality. I felt we needed something more upbeat in a different key and was miffed that Aztec Camera's Roddy Frame was getting on the radio and we weren't. That's why it's got that sunny disposition; my usual default setting was Manchester in the rain. When we were recording it, Rough Trade's Geoff Travis came in and said: 'That's got to be the single.'"

"I remember writing it, it was in preparation for a John Peel single. I wrote it the same night as 'Pretty Girls Make Graves' and 'Still Ill'."

"'This Charming Man' was the first record where I used those highlife-sounding runs in 3rds. I'm tuned up to F# and I finger it in G, so it comes out in A. There are about 15 tracks of guitar. People thought the main guitar part was a Rickenbacker, but it's really a '54 Tele. There are three tracks of acoustic, a backwards guitar with a really long reverb, and the effect of dropping knives on the guitar -- that comes in at the end of the chorus."

"I don't want to be playing 'This Charming Man' when I'm... 22."

- Johnny Marr

Here is a great video of Johnny looping the rhythm part and overdubbing the lead:

Notice he starts the riff on the second and third strings, around the twelfth fret(14th if you have his usual 2nd fret capo on).

I have uploaded several Guitar Pro tab files here. Each file has several different guitar tracks, some with bass tracks as well. I have uploaded a multitrack for the song here. This has the isolated guitar and bass parts, and it's a great tool for learning the song.

Here are the scans from the Singles tab book:

I have uploaded another tab and it's accompanying backing tracks. Those are here(right click to save as). Here's the tab:

UPDATE 10/12/08: I have also uploaded these scans from the debut album song book, for completists only.

lunachangue gives us a pretty spot on version:

The cover sonofdrcross does is equally good:

He also does a great version on bass:

325C58 tackles the hatful version, with bass and rythym guitar as well:

Daniel Earwicker plays just a few bars on his 12 string Ric:

martinyyz has another good version. Really clear recording of the fretboard, too:

Here's nicknoh69 on his les paul:

Here's WilliamFs11 on acoustic:

Here's isisluna23 on a Les Paul:

Here's chiasson65 with another great bass cover:

abyface does an awesome job:

adameater does the Hatful version on acoustic:

Another take by martinyyz:

Here's a cool version by johnnymare:

Here's Pandaprops on guitar:

and bass:

Here's davidguitarist91 on his Les Paul:

Here's a great multitrack version by captaincarwash:

Bigmouth Strikes Again

"With 'Bigmouth Strikes Again', I was trying to write my 'Jumping Jack Flash.' I wanted something that was a rush all the way through, without a distinct middle eight as such. I thought the guitar breaks should be percussive, not too pretty or chordal -- I wanted a cheap, Les Paul sort of sound. The main riff is based on an Am shape, with a capo at the 4th fret. I buried this one little guitar part in just the right place, so it sounds like overtones of the main part, but it's really there. On the first of the two breaks, I'm playing slide through an AMS harmonizer, really high. For the second one, I used a Gibson Les Paul Black Beauty and a Rickenbacker together, playing a regular Em shape, but it's sampled and triggered off the snare drum roll."

"People sometimes ask me who Anne Coates is, but it's actually a name I made up. The high, synthetic-sounding backing vocal on that song was down to a bit of kit called an AMS Harmoniser."

"[Morrissey’s high-pitched vocals were] done with a harmoniser, we just put the vocal through it and set it at some strange interval. We tried a few intervals until we found one that was weird in the right way. Later on we invited Kirsty McColl to come down. Morrissey and I had wanted to meet her because we were fans of her single 'They Don’t Know'. It seemed like a good way to meet her, to invite her to come down and get in on the session, which was unusual because we didn’t have a lot of guest musicians. She came down and she only appeared on the "ooohs" that appear in the guitar break. That was the start of an amazing friendship and partnership that I had with her, so a lot happened on that day, it was a big day for me."

- Johnny Marr

Nanuke has been kind enough to provide these scans from the "Smiths Best" complete scores book published by Shinko Music in Japan. This book is even rarer than the Louder Than Bombs: Off The Record book, so this is just fantastic to have access to it. At this point, I think we have almost every published version of Bigmouth now available on this page.

lunachangue sent me this rough translation of the performance notes:

this is strong accoustic 16 beat cutting guitar tune. for this song side guitar(or 2nd guitar?) use capo 4 fret and C#m E F# A B chords turns to Am C D F G, so turns to simple chords to play, but this songs speed is so fast and need sustainable power, so you not to be strain, right hand need to be smooth and fast,

not only guitar, but also bass and drum as well need speed and keep 'groove'
drums high-hat and guitar cutting must be same timing

D part slide guitar is like string sound effect on this song, If you play improvised slide guitar, you really need to practice hard, but this songs slide play is simple so good to start slide play from this song as your first step.

C and G　part harmonized woman chorus gives mysterious effect on this song, if you play in band it will be good by woman chorus support.

On D part there's electric piano, but its not an important part so you can omit when you play in band.

Here is another tab, along with 2 backing tracks which have been uploaded here(right click to save as).

Here are the guitar and bass tabs from Guitar For The Practicing Musician, July 1990 issue. Notice the first guitar break calls for a slide part played at the 31st fret(!).

Here are the scans from the Singles tab book:

I have uploaded 2 Guitar Pro tab files here. Compare them to the tabs above.

I have also added the pages from the Queen Is Dead piano songbook with guitar chord boxes: